Tuesday, August 15, 2017

A Ghost Story

Just over halfway through David Lowery’s ‘A Ghost Story’ – that is to say after fifty minutes or so of minimal dialogue and the communication of ideas and emotions via imagery, music and deliberately slow pacing – there’s a party scene in which a completely random character delivers a five-minute monologue on the passing of time, the inevitability of death, the impulse to leave something behind and the nature of what endures in the name of humankind and why and whether this enduring is, in and of itself, inherently meaningful.

A five-minute scene, in other words, in which writer-director Lowery finds it necessary, for some bewildering reason, to have a not particularly charismatic actor stodgily verbalise everything the film has communicated thus far in a beautiful, poignant, hypnotically compelling and quintessentially non-verbal manner. It’s an annoying scene – as inelegant conceptually as it is unnecessary intellectually – and if Lowery were to take ‘A Ghost Story’ back into the editing room and snip it out he would immediately transfigure a very very good film into an outright masterpiece.

‘A Ghost Story’ concerns itself, essentially, with two characters although plenty of other people drift through the film. The fact that we never really get to know any of these other people is a purposeful aesthetic decision. Their lives are almost on fast forward, so quickly do they enter the film, inhabit a very specific place for a brief period, then move on. The lives of our main characters, however … well, that’s where the film finds what I might otherwise describe as its heart or soul, but a better description for ‘A Ghost Story’ would be its memory and its terrible sense of endlessness.

Our main characters are called only C (Casey Affleck) and M (Rooney Mara). C is a musician and an introvert. He clings onto a ramshackle house that M wants to move out of, claiming it has “history” (“not as much as you’d think,” she shoots back in a line that comes loaded, by the time she delivers it, with bitter irony), while M despairs of his lackadaisical attitude to life and tendency to hedge decision-making and responsibility. Still, what they have together seems to be the real deal – certainly if M’s grief after C dies in a car accident is anything to by. That wasn’t a spoiler, by the way.

M says goodbye to C’s mortal remains as he lies on a mortuary gurney. She pulls a white sheet back over him before she leaves. Returning home, it takes her a lot longer to say goodbye. M – or at least M’s ghost – rises from the gurney and makes a slow, defeated journey to the house they shared. Where he remains.

The first brilliant, beautiful thing that Lowery achieves is to have a man wearing a sheet with eyeholes cut into it as his ghost and it actually come across as heartbreakingly sad rather than utterly ridiculous or camp. Later, when M sees a fellow ghost in a neighbouring house, this other ghost’s sheet is patterned with flowers. It took me a moment or two: M died on a morgue trolley, this other spirit died at home under a patterned bed sheet. The attempt at communication between these remnants, and the abrupt departure of the latter when she (I strongly got the impression of the feminine though I’m not sure why or how) realises no-one she knew is going to return, will also break your heart.

The film’s notorious pie-eating scene – which is already coming to wrongly define ‘A Ghost Story’ – isn’t quite as poignant, but it says a lot about grief, survivor’s guilt and how it’s a bad idea to shoulder the pain of bereavement alone. Like everything that ‘A Ghost Story’ does – which is to say, everything single frame of it bar the lousy party scene – the communication is purely visual, slowly paced and forces the viewer into observing events from the ghost’s perspective. Not his literal POV, I hasten to add (the ghost is often in the same shot as other characters), but his perspective. The difference is crucial.

Lowery uses extended takes that recall Tarkovsky, while the look of the film is reminiscent of David Lynch’s small town Americana. The Tarkovsky touchstone is the more important. What Lowery achieves – miraculously, given that slender 92 minute running time – is to document the passage of time: fast for the various residents who inhabit C and M’s house after M finally packs up and leaves to start a new life; slow, painfully slow, for M in the immediate aftermath of C’s death; and functionally endless for C.

At some point after the party scene (have I mentioned how much I dislike the party scene?), Lowery throws the mother of all curveballs and poses the question: what happens when even a ghost tires of (un)life? How he answers that question is something I can imagine frustrating the hell out of a lot of people. At least one writer on film, whose opinions I hold as damn close to gospel, outright hates the direction ‘A Ghost Story’ takes in its last third. Personally, and with an eye discreetly turned to one specific temporal cheat, I found Lowery’s approach daring, provocative and philosophical. This would be a good moment, however, to acknowledge how important Daniel Hart’s score is vouchsafing Lowery’s overall vision. Hart’s soundtrack is a thing of beauty.

With the exception of that one damned scene, ‘A Ghost Story’ is as close to perfection as any film I’ve seen on the big screen this year has come. It is the most serious and mature discourse on the nature of love that you’re likely to see without there being subtitles at the bottom of the screen. It is the most affecting enquiry into death, memory and the nature of what remains that has been produced this decade. Its cinematography, performances and music (did I mention how much I love Daniel Hart’s score?) synergise to beautiful effect.

That fucking party scene. It comes stumbling into a movie that should have been a perfect ten and knocks it down a whole half a point.

3 comments:

I mean, I get the objection: it's psychotically artless. But I still like it, even if it is tantamount to David Lowery bursting into the theater to deliver the speech personally. (And God knows, I really can't imagine those other partygoers listening to this dick with such rapt attention.)

But it worked for me, especially once I'd made it to the end. That's when I realized what it must've been: essentially, Lowery admitting he just does not have the budget to show C staring off a cliff into the eye of a red giant sun--which, if the party scene is anything to go by, is clearly what he must have wanted. And I do have to appreciate that.

I think I know whose gospel you're reading. (Does it rhyme with Slim Slayton?) However, I think I had yet a third reaction to the film, since I don't actually have a ton of use for the opening half without the second half. But (and it's a big but!) that second half, and the light it sheds upon the first half, ultimately makes the whole thing genuinely great.